noir

It__ a case of mistaken identity. It__ one big mistake. You weren__ even in the country when it happened.__aja in the short story 'Metro' by Steen Langstrup

It's only crazy if we fail.

There__ no tragedy you can__ profit from.

The only thing altruism will get you here is a boot stomping on your head.

May they run free forever and grow back their limbs!

This is the Rock, sweetheart,_ the owner added. __here__ no tragedy you can__ profit from.

The viewpoint character in each story is usually someone trapped in a living nightmare, but this doesn't guarantee that we and the protagonist are at one. In fact Woolrich often makes us pull away from the person at the center of the storm, splitting our reaction in two, stripping his protagonist of moral authority, denying us the luxury of unequivocal identification, drawing characters so psychologically warped and sometimes so despicable that a part of us wants to see them suffer. Woolrich also denies us the luxury of total disidentification with all sorts of sociopaths, especially those who wear badges. His Noir Cop tales are crammed with acts of police sadism, casually committed or at least endorsed by the detective protagonist. These monstrosities are explicitly condemned almost never and the moral outrage we feel has no internal support in the stories except the objective horror of what is shown, so that one might almost believe that a part of Woolrich wants us to enjoy the spectacles. If so, it's yet another instance of how his most powerful novels and stories are divided against themselves so as to evoke in us a divided response that mirrors his own self-division.("Introduction")

Trust me. What a phrase. Is it a phrase or an idiom? I was never a wordsmith and I was too far along in life to even attempt to tackle a problem as complicated as words. Do writers struggle as much with words as a painter does with his paint and his brush?__kay,_ it is impossible not to trust a beautiful woman. Even macho noir anti-heroes who talk about staying out of trouble and doin_ nothin_ for nobody always get sucked into intricate snares set for them by beautiful women_ I would not be an exception.

He began as a minor imitator of Fitzgerald, wrote a novel in the late twenties which won a prize, became dissatisfied with his work, stopped writing for a period of years. When he came back it was to BLACK MASK and the other detective magazines with a curious and terrible fiction which had never been seen before in the genre markets; Hart Crane and certainly Hemingway were writing of people on the edge of their emotions and their possibility but the genre mystery markets were filled with characters whose pain was circumstantial, whose resolution was through action; Woolrich's gallery was of those so damaged that their lives could only be seen as vast anticlimax to central and terrible events which had occurred long before the incidents of the story. Hammett and his great disciple, Chandler, had verged toward this more than a little, there is no minimizing the depth of their contribution to the mystery and to literature but Hammett and Chandler were still working within the devices of their category: detectives confronted problems and solved (or more commonly failed to solve) them, evil was generalized but had at least specific manifestations: Woolrich went far out on the edge. His characters killed, were killed, witnessed murder, attempted to solve it but the events were peripheral to the central circumstances. What I am trying to say, perhaps, is that Hammett and Chandler wrote of death but the novels and short stories of Woolrich *were* death. In all of its delicacy and grace, its fragile beauty as well as its finality.Most of his plots made no objective sense. Woolrich was writing at the cutting edge of his time. Twenty years later his vision would attract a Truffaut whose own influences had been the philosophy of Sartre, the French nouvelle vague, the central conception that nothing really mattered. At all. But the suffering. Ah, that mattered; that mattered quite a bit.

She killed to get the dream she wanted, then found out it didn't want her back.

The biggest mistake you can make is thinking you know who you are.

In near panic, I craned my neck to gaze over the cabin__ roofline a bursting fireball.

Just the night before, a puma__ howl had set a chill at my spine and, man, life didn__ get any richer than that.

From Chapter 1:The main rub was the lack of RnR and I burned out. Three years and three stripes later, I ejected from the MP Corps, vowing I'd never do police or criminal investigative work again. Instead, I returned home when I should've learned better.

The finest thing in the world is knowing how to belong to oneself.Michel de Montaigne

I cadged a complimentary green matchbook with a gold bird icon from the Bell canning jar. Later we'd use the matches to light our spliffs. My fingertips tapped the stem to the gizmo that dinged a bell. Nobody came out. Wrong signal, so I did two bell rings. No response prompted me to tap out a series of bell rings.

Bina, thank you. Bina, listen, this guy. His name wasn't Lasker. This guy-'She puts a hand to his mouth. She has not touched him in three years. It probably would be too much to say that he feels the darkness lift at the touch of her fingertips against his lips. But it shivers, and light bleeds in among the cracks.

IT TOOK a conscious effort for Tallow to keep his hand off his gun as he walked up the apartment building__ stairs. There was no threat here. He told himself that with every step. But every step held memory.